Lost in Space : Network Sales Presentation (1965)

Lost in Space is a science fiction TV series created and produced by Irwin Allen, filmed by 20th Century Fox Television, and broadcast on CBS. The show ran for three seasons, with 83 episodes airing between September 15, 1965, and March 6, 1968. Their first TV season was filmed in black and white, but the rest of them were filmed in color. In 1998, a Lost in Space movie, based on the TV series, was released. The TV series focused primarily on Jonathan Harris as Dr. Zachary Smith, originally an utterly evil would-be killer who as the first season progressed became a sympathetic anti-hero, providing comic relief to the TV show (and causing most of its problems).



Production
The TV series is an adaptation of the novel The Swiss Family Robinson. The astronaut family of Dr. John Robinson, accompanied by an air force pilot, and also a robot, set out in the spaceship Jupiter 2 to colonize a planet circling the star Alpha Centauri from the overpopulated Earth. Their mission in 1997 (the official launch date of the Jupiter 2 was October 16, 1997) is immediately sabotaged by Dr. Zachary Smith, who slips aboard their spaceship and reprograms the robot to destroy the ship and crew. Smith is trapped aboard, saving himself by prematurely reviving the crew from suspended animation. They save the ship, but consequent damage leaves them lost in space. Eventually they crash on an alien world, later identified as Priplanis, where they must survive a host of adventures. Smith (whom Allen originally intended to kill off) remains through the series as a source of comedic cowardice and villainy, exploiting the forgiving (or forgetful) nature of the Robinsons. At the start of the second season, the repaired Jupiter 2 launches again, but after two episodes the Robinsons crash on another planet and spend the season there. This replicated the feel of the first season, although by this time the focus of the series was more on humor than straight action/adventure.

In the third season, the Robinson Family wasn't restricted to one world. The now mobile Jupiter-2 would travel to other worlds in an attempt to return to Earth or to settle on Alpha Centauri. The Space Pod was added as a means of transportation between the ship and planets. This season had a dramatically different opening credits sequence. Following the format of Allen's first TV series, Voyage to the Bottom of the Sea, fantasy-oriented adventure stories were emphasized. The show delivered a visual assault of special effects, explosions, monstrous aliens, spaceships, and exotic sets and costumes drenched in the bright, primary colors that were typical of early color television.

Plot:
It is October 16, 1997 and the United States is proceeding towards the launch of one of history's great adventures: man's colonization of deep space. The Jupiter 2 (called Gemini 12 in the pilot episode), a futuristic saucer-shaped spaceship, stands on its launch pad undergoing final preparations. Its mission is to take a single family on a five and a half year journey (stated as 98 years in the pilot episode) to a planet of the nearby star Alpha Centauri (the pilot episode refers to the planet itself as Alpha Centauri), which space probes reveal possesses ideal conditions for human life. The Robinson family was selected from among 2 million volunteers for this mission. The family includes Professor John Robinson (Guy Williams), his wife, Maureen (June Lockhart), their children, Judy (Marta Kristen), Penny (Angela Cartwright), and Will (Billy Mumy). They will be accompanied by their pilot, US Space Corp Major Donald West (Mark Goddard), who is trained to fly the ship in the unlikely event that its sophisticated automatic guidance system malfunctions. Other nations are racing the United States in the effort to colonize space, and they would stop at nothing, even sabotage, to stop the US effort. Dr. Zachary Smith (Jonathan Harris), a medical doctor and environmental control expert, is actually a foreign secret agent. He reprograms the Jupiter 2's B-9 environmental control robot (voiced by Dick Tufeld) to destroy critical systems on the spaceship eight hours after launch. Smith is trapped aboard at launch and his extra weight throws the Jupiter 2 off course, causing it to encounter a meteor storm. The robot's rampage causes the ship to become lost. The Robinsons are often placed in danger by Smith, whose actions and laziness endanger the family. In the second and third seasons, Smith's role assumes a less evil overtone – although he continues to display many character defects. In "The Time Merchant", Smith travels back in time to the day of the Jupiter 2 launch, with hope of changing his fate. He learns that without his weight altering the ship's course, it would be destroyed by an uncharted asteroid. In an act of redemption, Smith elects to re-board the ship, thus saving the Robinsons' lives.


This a short film presentation Irwin Allen put together to try and sell the show to networks.



LOST IN SPACE : NETWORK SALE PRESENTATION
IRWIN ALLEN  (1965)
20TH CENTURY FOX TELEVISION
6MIN
USA

Bloodlust (1961)

"Bloodlust!" is a 1961 film from director Ralph Brooke, who is telling his own twisted version of Richard Connell's short story "The Most Dangerous Game." The popular story of a big game hunter hunting men was first film in 1932 with Joel McRae and Fay Wray being hunted by Leslie Banks, and before Brooke got around to his version was remade as "A Game of Death" in 1945, again as "The Most Dangerous Game" but as a 7-minute short in 1953, and as "Run for the Sun" in 1956 with Richard Widmark and Trevor Howard.

In the post-"Bloodlust!" era we have had "Woman Hunt" in 1975, "Slave Girls From Beyond Infinity" in 1987, "Deadly Prey" in 1988, and "Lethal Woman" in 1990, as suddenly the story take a decided turn from violence to sex. Suddenly, "Bloodlust!" looks pretty good in comparison, especially if you are into campy remakes.  The story begins with a pair of couples out for a charter boat ride (Oh, no: this film anticipates "Gilligan's Island!"). The captain spots an island he has never seen before and promptly passes out. So his passengers decide to go visit the island where Johnny Randall (Robert Reed), falls into a trap. Pete Garwood (Eugene Persson), Betty Scott (June Kenney), and Jeanne Perry (Joan Lora) get Johnny out of the trap just in time to be confronted by Dr. Albert Balleau (Wilton Graff) and his gun bearers. He invites them back to his home, where stuffed animals and trophy heads are the major item of decor. He engages his visitors in the sort of polite conversation where everything has a double meaning and his guests start to have a clue. Eventually the truth is revealed: Dr. Balleau likes to hunt human beings and has a special room where he displays his trophies captured forever as they were at the moment of death.  Graff plays the part like he was Orson Welles pretending to be Vincent Price. If you like your crazy men to be totally calm, cool, and collected, then this is your guy, although the approach really wears thin. Reed is clearly the only competent actor in the bunch and I can see why being in this movie did not hurt his career as he went on to "The Brady Bunch" and then tried to live the role down in things like "Rich Man, Poor Man."

The grizzly tableaus are a pretty good touch to the general camp, and there is a scene where one of the doctor's henchmen is getting things ready for the newest tableau where the idea will turn your stomach even if the visuals do not. The common denominator between the two features on this disc is that the women in these horror films really know how to scream.  By Lawrance M. Bernabo







BLOODLUST
RALPH BROOKE  (1961)
68 MIN
USA

The Rifleman : Day of the Hunter (1959)

The Rifleman was an American Western television program that ran on ABC, from September 30th, 1958 to April 8th, 1963. It was a production of Four Star Television. Chuck Connors starred as The Rifleman, named Lucas McCain, a widower and a Union veteran of the Civil War (lieutenant in the 19th Indiana Volunteer Infantry Regiment), and a homesteader. McCain and his son, Mark (Johnny Crawford) lived on a ranch outside the fictitious town of North Fork, New Mexico Territory. The series was set in the 1880's and the various episodes promoted fair play toward one's opponents, neighborliness, equal rights and the need to use violence in a highly controlled manner.



In this episode " Day of the Hunter " a famous buffalo hunter tries to goad Lucas into a shooting match.


THE RIFLEMAN : DAY OF THE HUNTER
JOSEPH H. LEWIS  (1959)
26 MIN
USA

Atom Age Vampire (1963)

Atom Age Vampire (Italian: Seddok, l'erede di Satana) is a 1963 black-and-white Italian horror/science fiction film directed by Anton Giulio Majano and starring Alberto Lupo.

When a singer (Susanne Loret) is horribly disfigured in a car accident, a scientist (Alberto Lupo) develops a treatment which can restore her beauty by injecting her with a special serum. While performing the procedure, however, he falls in love with her. As the treatment begins to fail, he determines to save her appearance, regardless of how many women he must kill for her sake. Despite the implication of its American title, the film does not feature an actual vampire. The titular Seddok is actually the brilliant but deranged scientist Dr. Levin, mutated by a chemical formula created using radiation. Dr. Levin studied the effects of radiation on living tissue in post-Hiroshima Japan, and created an imperfect and teratogenic serum, "Derma 25", which he later refined into the miraculous healing agent "Derma 28" which he uses to treat the heroine. When his supply of Derma 28 runs out, he realizes he must kill to obtain more, and injects himself with Derma 25 in order to become monstrous and remorseless, so that he may seek these victims without hesitation. Because many of the murders take place near the docks where shiploads of Japanese refugees are arriving, and leave behind the victims' bodies with holes in the neck where Dr. Levin has extracted the glands, the refugees claim that a vampire (whom they call "Seddok", though this is not a Japanese name) is responsible for the attacks. During a meeting with police, a restored-to-humanity Dr. Levin speculates that the Hiroshima survivors' tales of a mutated killer are due to psychological strain from the radiation damage to their bodies...but also wonders aloud whether the "vampire" these witnesses describe might simply be a disturbed man wishing to be normal again. - From Wikipedia

ATOM AGE VAMPIRE
MARIO BAVA (1963)
86 MIN
ITALY/USA
DOWNLOAD / MPEG4 / 865MB

Marine Boy : Dragon of the Sea (1965)

Marine Boy was one of the first color anime cartoons to be shown in a dubbed form in the U.S., and later in Australia and the United Kingdom. It was originally produced in Japan as Undersea Boy Marine (海底少年マリン, Kaitei Shōnen Marin?) by Minoru Adachi and animation company Japan Tele-Cartoons. It was sold outside of Japan via K. Fujita Associates Inc., with Warner Bros / Seven Arts Television handling worldwide distribution of the English language version.
The show revolves around a talented boy who is further enhanced by some sophisticated inventions. With these, he serves with the underwater policing agency, the Ocean Patrol, in making Earth's oceans safe. The series is set in the future, when humankind has pioneered the world's oceans, establishing great facilities for undersea ranching (episode 4, 17, 22), mineral and oil exploitation (ep. 2, 12), research (ep. 6, 7), and some underocean communities (ep. 10, 15). In this era there is an ocean based government agency: The Ocean Patrol, whose mission includes protecting all in the sea from danger (episode 4). Most of the activity we witness of the OP is that of policing the world's oceans, for this affluent frontier and its resources seems to have produced a startling number of megalomaniacs—it seems hardly a week goes by in which the Ocean Patrol doesn't divert someone with an impressive private military force from taking over the world. That being the case, the Ocean Patrol is also an impressive military force with small and large subs, war ships, and an air force (ep. 5, 18). The military branch of the OP includes researchers and scientists who are constantly developing their defensive and offensive arsenal (ep. 9, 10, 17, 19) as well as new research vehicles (ep. 10, 12) and devices (ep. 13). Key people in this department are Marine Boy's father, Dr. Mariner, as well as the brilliant Professor Fumble. However, there are non-military branches of the Ocean Patrol which conduct some of the aforementioned ranching, research, oil drilling and so on.

The series follows the Ocean Patrol's patrol boat P-1. The patrol boats are small submarine craft, comfortably sized to be manned by 3 or 4 people. They are also capable of flight for limited times using retractable wings (episode 4, 27). Patrol boats may be heavily armed, most commonly with small "rocket torpedos," but optional weaponry is sometimes mounted. These have included a heat beam, boxing glove missiles (ep. 4), smoke screen (ep. 4, 14), a heavy saw, sonic cannon (ep. 9), a steel net (ep. 11), power claws, drill and laser beam guns (ep. 28). The crew of the P-1 includes Bullton and Piper (a double act, reminiscent of Laurel and Hardy) and often the Ocean Patrol member Marine Boy. Marine Boy is an extremely intelligent, strong and athletic boy of perhaps 13 to 15 years of age. He is a martial artist (episode 1, 2, 8, 16), and an accomplished pilot (ep. 10) whose talents are further enhanced by the inventions of his father, Dr. Mariner. He has a great affinity with sea life, most particularly with a white dolphin he calls Splasher who Marine Boy occasionally seems able to communicate with quite clearly (ep. 11, 12, 28). (He also wears a ring with a dolphin-calling whistle in it (ep. 2, 4, 16).) It is perhaps because of his talents along with his avid insistence to get involved with trouble that his father, Dr. Mariner, along with Professor Fumble, invented for him the red wetsuit which protects and equips Marine Boy, allowing for him to use his talents to perform dangerous duty. With his headstrong personality, he hardly seems able to avoid it. The suit is highly resistant to penetration (ep. 1, 2)(it appears it may be bulletproof) and temperature (ep. 17, 21). The boots have hyper-powered propeller packs built into the heels which are so efficient they can enable Marine Boy to move huge boulders (ep. 3) and break free from metal manacles (ep. 10). When the power units are exhausted Marine Boy has spares in his belt. He also has retractable flippers, released at the click of his heels (ep. 3). The headgear includes a radio transceiver, but most remarkably, there is no breathing apparatus or face shield. Oxygen is supplied through another of Professor Fumble's inventions: "oxy-gum" which Marine Boy can chew and receive hours of oxygenation. He tends to have to replenish the gum after heavy activity. Presumably the oxy-gum is very limited in production because no other Ocean Patrol officers use it. Marine Boy also carries a weapon: a boomerang made of a hardened alloy. The alloy can cut through many matierials and the nimble Marine Boy has even used it to deflect bullets (ep. 24). It folds on a spring so it can be carried in a holster on his left arm. When unfolded and thrown it can generate a powerful electric shock, which has proved to be so disruptive to some electrical systems, it has blown up entire submarines (ep. 14, 16, 28). Marine Boy also has a friend in Neptina, a young (8-12 year old?) bare-chested mermaid who was always kept decent by her long flowing hair. Neptina wears a magic pearl around her neck, which could be used for various purposes including creating an envelope of protection and deterring dangerous animals (episode 1, 2), as well as working as a crystal ball to see events (ep. 3, 6, 13, 15, 16). She also seems to understand Splasher (ep. 3, 6, 10) and have an innate understanding of sea life (ep. 4).

 History
The program concept was developed by Terebi Doga, (aka Japan Tele-Cartoons or JTC), in Japan in 1965, originally known as Dolphin Prince (ドルフィン王子 - Dorufin Ôji). Produced as a short experimental trial series of only 3 episodes and filmed in black and white, Dolphin Prince aired on Fuji TV on Sundays at 7.30pm between 4 April and 18 April 1965. The episodes featured young Dolphin Prince, his mermaid friend Neptuna and Dr. Mariner, with stories entitled "Secret Of The Red Vortex", "Call Of The Sea" and "Attack Of The Sea-Star People". It was a well-received experiment and Terebi Doga prepared to produce a full series follow-up, although this time they decided that their program would be produced in color in order to maximise the potential of the production, both artistically and commercially. Although color television was introduced to the US in 1965, Japan had been transmitting some programs in color since 1960, however, not

 all Japanese studios had invested in the conversion of their operations to color. To complicate matters, not all the networks were interested in buying expensive color film series which were considered "vehicles" for selling commercial airtime, especially programs aimed primarily at children. Some broadcasters, (such as NHK, TBS, NET, Yomiuri, etc), had embraced color as the emerging and more engaging format, but others such as Fuji TV were unwilling to buy or co-finance color programming without a guarantee of commercial return or sponsored support. Fuji TV had broadcast the popular color series Jungle Emperor (ジャングル大帝 - Janguru Taitei) in 1965, but this would not have been filmed in color at all without the pre-sale of the series to US distributor NBC Films for broadcast in the US as Kimba The White Lion, (on the NBC Network which, at the time, insisted that it be supplied color programming by its distributors, the network using color as a promotional tool to attract both sponsors and viewers alike).

I have fond memories of watching this show, with my little sister every morning before I ran of to school.

MARINE BOY : DRAGON OF THE SEA
SEVEN ARTS TELEVISION (1965)
25 MIN
JAPAN/USA

Superman : The Electric Earthquake (1942)

The Superman animated cartoons, commonly but somewhat erroneously known as the "Fleischer Superman cartoons" were a series of seventeen animated Technicolor short films released by Paramount Pictures and based upon the comic book character Superman. The first eight shorts were produced by Fleischer Studios from 1941 to 1942, while the final nine were produced by Famous Studios, a successor company to Fleischer Studios, from 1942 to 1943. Superman was the final animated series initiated under Fleischer Studios, before Famous Studios officially took over production in May 1942. Although all entries are in the public domain, ancillary rights (as well as the original 35mm master elements) are owned today by Warner Bros. Animation. Warner has owned Superman publisher DC Comics since 1969.

The first eight cartoons were produced by Fleischer Studios (the name by which the cartoons are commonly known). In 1942, Fleischer Studios was dissolved and reorganized as Famous Studios, which produced the final nine shorts. These cartoons are seen as some of the finest, and certainly the most lavishly budgeted, animated cartoons produced during The Golden Age of American animation. In 1994, the series was voted #33 of the 50 Greatest Cartoons of all time by members of the animation field. By mid-1941, brothers Max and Dave Fleischer had recently finished their first animated feature film, Gulliver's Travels, and were deep into production on their second, Mister Bug Goes to Town. They were reluctant to commit themselves to another major project at the time when they were approached by their distributor, and owner since May 1941, Paramount Pictures. Paramount was interested in cashing in on the phenomenal popularity of the new Superman comic books by producing a series of theatrical cartoons based upon the character. The Fleischers hoped to discourage Paramount from committing to the series, so they informed the studio that the cost of producing such a series of cartoons would be about $100,000 per short—an amazingly high figure, about six times the typical budget of a six-minute Fleischer Popeye the Sailor cartoon during the 1940s. To their surprise, Paramount agreed to a budget of $50,000 - half the requested sum, but still three times the cost of the average Fleischer short - , and the Fleischers were committed to the project. The first cartoon in the series, simply titled Superman, was released on September 26, 1941, and was nominated for the 1942 Academy Award for Best Short Subject: Cartoons. It lost to Lend a Paw, a Pluto cartoon from Walt Disney Productions and RKO Pictures. The voice of Superman for the series was initially provided by Bud Collyer, who also performed the lead character's voice during the Superman radio series. Joan Alexander was the voice of Lois Lane, a role she also portrayed on radio alongside Collyer. Music for the series was composed by Sammy Timberg, the Fleischers' long-time musical collaborator. Rotoscoping, the process of tracing animation drawings from live-action footage, was used extensively to lend realism to the human characters and Superman. Many of Superman's actions, however, could not be rotoscoped (flying, lifting very large objects, and so on). In these cases, the Fleischer lead animators, many of whom were not trained in figure drawing, animated roughly and depended upon their assistants, many of whom were inexperienced with animation but were trained in figure drawing, to keep Superman "on model" during his action sequences. The Fleischer cartoons were also responsible for Superman being able to fly. When they started work on the series, Superman could only leap from place to place (hence "Able to leap tall buildings in a single bound" in the opening). But they deemed it as "silly looking" after seeing it animated and decided to have him fly instead.

The Electric Earthquake:
Electric Earthquake is the seventh of the seventeen animated Technicolor short films based upon the DC Comics character of Superman, originally created by Jerry Siegel and Joe Shuster. This animated short was created by the Fleischer Studios. The story runs about eight minutes and covers Superman's adventures in stopping a madman from destroying Manhattan with electronically-induced earthquakes. It was originally released 15 May 1942. This is the first of the films to make it clear that the action is taking place in New York City. The story begins with a view of the city, lowering to a view of the ground underneath. Deep under the docks, several large wires are connected to the bedrock. Following the wires away from the coast along the ocean floor, it is shown that they all converge in a strange underwater capsule. An elevator-like object emerges from the top and rises to an abandoned fishing house infested with rats. A man exits the elevator and heads toward the city in a motorboat.


Later, at the Daily Planet, a Native American man warns Lois Lane, Clark Kent, and Perry White that they must run a report of his demands; namely, that Manhattan belongs to his people and if the city does not give the island back, clearing it of its population, terrible things will happen. The Planet crew judges him to be crazy, and his threats to be empty... at least, everyone but Lois, who follows him to his motorboat. Hiding in the back, Lois is taken to the deserted fishing house on the water and sees his elevator. The man catches her watching him in the elevator's reflection, and calmly invites her to follow him, promising an amazing story. Lois follows. The elevator lowers into the underwater capsule, and the man offers her a seat, then pushes a button which pins her arms and legs to the chair. Stepping up to the controls, he starts up his earthquake machine, sending a powerful surge of electricity through one of the wires and into the bedrock under the city. The large explosion causes the entire city to shake, and runs a large crack through the Daily Planet building. Clark takes advantage of the commotion to change into his Superman costume. In one leap, Superman dives into the ocean and notices the several wires embedded in the rock. He pulls one of them out only to have it explode in his face, flinging him the ground and piling him with bedrock. He pushes the rock away and pulls at a few more, only to have the wires writhe with electric current and wind around him. At one point, Superman comes up for air only to have one of the wires wind around his neck and pull him down. Finally, Superman follows the wires to the underwater capsule and pulls them out from its base, causing explosions which destroy the machine. As water fills the capsule, the villain takes the elevator to the surface, leaving Lois trapped as the water in the capsule slowly rises. Superman spots the elevator and catches the villain at the top, but is told that Lois is trapped, and darts back down to save her. The villain, meanwhile, loads the elevator with dynamite and sends it down after him. Superman, however, saves Lois in time, and captures the villain as he is making a getaway in his motorboat.



SUPERMAN - THE ELECTRIC EARTHQUAKE
DAVE FLEISCHER    (1942)
8 MIN
USA
DOWNLOAD / MPEG 2 / 194 MB

Private SNAFU : The Home Front (1943)

Private Snafu is the title character of a series of black-and-white American instructional cartoon shorts produced between 1943 and 1945 during World War II. The character was created by director Frank Capra, chairman of the U.S. Army Air Force First Motion Picture Unit, and some of the shorts were written by Theodor "Dr. Seuss" Geisel. Although the United States Army gave Walt Disney Studios the first crack at creating the cartoons, Leon Schlesinger of the Warner Bros. animation studio underbid Disney by two-thirds and won the contract.

Most of the Private Snafu shorts are educational, and although the War Department had to approve the storyboards, the Warner directors were allowed great latitude in order to keep the cartoons entertaining. Through his irresponsible behavior, Snafu demonstrates to soldiers what not to do while at war. In Malaria Mike, for example, Snafu neglects to take his malaria medications or to use his repellant, allowing a suave mosquito to get him in the end—literally. In Spies, Snafu leaks classified information a little at a time until the Germans and Japanese piece it together, ambush his transport ship, and literally blow him to hell. Six of Snafu's shorts actually end with him being killed due to his stupidity: Spies (blown up by enemy submarine torpedoes), Booby Traps (blown up by a bomb hidden inside a piano), The Goldbrick (run over by an enemy tank), A Lecture on Camouflage (large enemy bomb lands on him), Private Snafu vs. Malaria Mike (malaria), and Going Home (run over by a street car). Later in the war, however, Snafu's antics became more like those of fellow Warner alum Bugs Bunny, a savvy hero facing the enemy head-on. The cartoons were intended for an audience of soldiers (as part of the bi-weekly Army-Navy Screen Magazine newsreel), and so are quite risqué by 1940's standards, with minor cursing, bare-bottomed GIs, and plenty of scantily clad (and even semi-nude) women. The depictions of Japanese and Germans are quite stereotypical by today's standards, but were par for the course in wartime U.S. Nine of the Snafu shorts feature a character named Technical Fairy, First Class. The Technical Fairy is a crass, shirtless, miniature G.I. whose fairy wings bear the insignia of a Technical Sergeant. He would appear and grant Snafu's wishes, most of which involve skipping protocol or trying to do things the quick and sloppy way. The results typically end tragically, with the Technical Fairy teaching Snafu a valuable lesson about proper military procedure. In the 1944 Snafuperman, the Technical Fairy transforms Private Snafu into the superhero Snafuperman, who takes bungling to a super-powered level through his carelessness. The Snafu shorts are notable because they were produced during the Golden Age of Warner Bros. animation. Directors such as Chuck Jones, Friz Freleng, Bob Clampett, and Frank Tashlin worked on them, and their characteristic styles are in top form. P. D. Eastman was a writer and storyboard artist for the Snafu shorts. Voice characterizations were provided by the celebrated Mel Blanc (Private Snafu's voice was similar to Blanc's Bugs Bunny characterization, and Bugs himself actually made a cameo in the Snafu episode Gas). Toward the end of the war, other studios began producing Snafu shorts as well (the Army accused Schlesinger of padding his bills), though some of these never made it to celluloid before the war ended. The Snafu films are also partly responsible for keeping the animation studios open during the war—by producing such training films, the studios were declared an essential industry. After the war, the Snafu cartoons went largely forgotten. Prints eventually wound up in the hands of collectors, and these form the basis for The Complete, Uncensored Private Snafu, a VHS and DVD collection from Bosko Video. Bosko's collection is currently the only one available, but it has been criticized[by whom?] for the poor quality of its transfer. Because they are now in the public domain, various Private Snafu shorts are available on YouTube, and more than a dozen are catalogued in the Internet Archive.



PRIVATE SNAFU - THE HOME FRONT
WARNER BROS  (1943)
4:24
USA
DOWNLOAD / MPEG 2 / 229.4 MB

Doomsday for Pests (1952)

Doomsday for Pests is a 1952 promotional film produced by the  Sherwin-Williams Paint company. The film is an early form of the infomercial. In this film the pesticide DDT is promoted as a very safe and effective way of getting rid of those pesty insects, with it's DDT laced paint products. This film was made before all of the health risks linked to DDT to humans were found. This film is laughable when watched today. This film has some wonderful animation sequences and is a great piece of  American pop culture

DOOMSDAY FOR PESTS
SHERWIN WILLIAMS PAINT COMPANY (1952)
14:43
USA
DOWNLOAD / MPEG 4 / 344.1 MB

Teenagers from Outer space (1959)

Teenagers from Outer Space is a 1959 science-fiction B-movie about an extraterrestrial space ship landing on Earth to use it as a farm for its food supply. The crew of the ship includes teenagers, two of whom oppose each other in their activities. The independent film was originally distributed by Warner Brothers.


A team of spacemen arrive on Earth in a space ship. They have been searching the galaxy for a planet suitable to raise their herd of "gargons", a lobster-like (but air-breathing) creature which is a food staple on their homeworld. Thor (Bryan Grant), the first spaceman to emerge, shows his contempt for other-worldly creatures by using his vaporization weapon on a dog, Sparky. Derek (David Love), upon discovering an inscription upon Sparky's dog tag, voices his fear that the herd of gargon might destroy Earth's local inhabitants. The other spacemen scoff. As members of the "supreme race", they are disdainful of "foreign beings", no matter how intelligent, and pride themselves on the fact that families and friendships are forbidden on their world. Derek reveals himself to be a member of an underground which commemorates earlier, more humane periods of the homeworld's history. The gargon seems unable to thrive in Earth's atmosphere. During this distraction, Derek flees, before the gargon revives and flourishes. When the Captain reports Derek's antics, he is connected to the Leader (Gene Sterling) himself. It turns out that Derek is the son of their Leader, though Derek is not aware of this. Thor is sent to retrieve Derek, with orders to kill if necessary to protect the mission. They return to their base, leaving the gargon behind, hoping to judge its growth rate by the time they return.

Meanwhile, Derek follows the address on the dog tag to a private home that belongs to Betty Morgan (Dawn Anderson) and her Grandpa Joe (Harvey B. Dunn). They have a room to rent, and Derek inadvertently becomes a boarder. When Betty's boyfriend, reporter Joe Rogers (Tom Graeff), can't make their afternoon plans, Derek goes along to visit Alice (Sonia Torgeson). He shows the tag to Betty who recognizes it immediately. Derek takes her to the place where the ship landed, and shows her Sparky's remains. She doesn't believe him, so he describes Thor's "focusing disintegrator ray" that strips flesh from bone. Betty takes this well, and vows to help Derek stop the bad guys. During the course of the day Betty and Derek have more than one run in with Thor and his ray gun, and Joe grapples with news stories of skeletons popping up all over town, including in Alice's swimming pool. Eventually Thor is wounded, and when he kidnaps Betty and Derek in order to seek medical attention, he reveals Derek's true parentage. Two car chases and a gunfight ensue, and Thor is finally captured by authorities after plummeting off a cliff in a stolen car. But there are bigger problems than Thor: the gargon has grown immensely, killing a policeman with whom Joe was investigating the landing site, and attacking numerous people. Derek and Betty immediately head out to the car wreck to look for the gun. Derek and Betty share a kiss, and he vows to make Earth his home and never leave. When the gargon ruins their romantic moment, Derek finds the gun just in time for them to escape. Unfortunately the gun has been damaged in the crash, and the monster is coming towards the town. They head out once again to confront it, using power lines to fuel the disintegrator. They kill the gargon, but it's too late: enemy ships have appeared overhead. The whole gang, including Joe and Grandpa, hurry out to the landing site. Derek reunites with his father, and makes the ultimate sacrifice to save the Earth by leading the fleet directly into the hillside and causing a massive explosion. Derek does not survive, but is remembered to have said "I shall make the Earth my home. And I shall never, never leave it".



TEENAGERS FROM OUTER SPACE
TOM GREAFF  (1959)
WARNER BROS
86 MIN
USA
DOWNLOAD / MPEG 4 / 998 MB

Andy Warhols Frankenstein - Trailer (1974)

Andy Warhol's Frankenstein or Flesh for Frankenstein is a 1973 horror film directed by Paul Morrissey and produced by Andy Warhol, Andrew Braunsberg, Louis Peraino, and Carlo Ponti. Starring Udo Kier, Joe Dallesandro, Monique van Vooren and Arno Juerging, and filmed in the famous Cinecittà by a crew of Italian master filmmakers, Andy Warhol's Frankenstein is suffused with the crumbling glamour of old Italian films, paying homage to (while simultaneously parodying) the earnest and stark visual and psychological beauty of the horror films on which it is based. Morrissey's sense of ironic detachment gives the film a gruesomely comic modernity and beauty all its own. In the United States, the film was marketed as Andy Warhol's Frankenstein, and was presented in the Space-Vision 3-D process in premiere engagements. It was rated X by the MPAA, due to its explicit sexuality and violence. A 3-D version also played in Australia in 1986, along with Blood for Dracula, an obvious pairing. In the seventies a 3-D version played in Stockholm, Sweden. In subsequent US DVD releases, the film was retitled Flesh for Frankenstein, while the original title was used in other regions.
The film was later cut to 93 minutes for an R-rating, thereby increasing its ability to be screened in more theaters. The U.S. DVD releases have utilized the full uncut version, which is now unrated. The film had its television premiere in the United Kingdom on November 17, 2009 and was broadcast in 3D as part of Channel 4's 3D Week. Like Blood for Dracula, made by the same crew and cast, and sharing many of the same sets (a cost-cutting measure first used by Roger Corman), Flesh for Frankenstein is an attempt at using a gothic story to comment on power, knowledge and social order. While many adaptations of Frankenstein portray the doctor as a man whose dedication to science for professional glory take him too far, in Flesh for Frankenstein, the Baron’s interest is more self-absorbed: he seeks to rule the world by creating a new species that will obey him and do his bidding. In the United States, the film was marketed as Andy Warhol's Frankenstein, and was presented in the Space-Vision 3-D process in premiere engagements. It was rated X by the MPAA, due to its explicit sexuality and violence. A 3-D version also played in Australia in 1975, along with Blood for Dracula, an obvious pairing. In the seventies a 3-D version played in Stockholm, Sweden and Australia . In subsequent US DVD releases, the film was retitled Flesh for Frankenstein, while the original title was used in other regions.


Dr. von Frankenstein neglects his duties towards his wife/sister, as he is obsessed with creating a perfect Serbian race to obey his commands, beginning by assembling a perfect male and female from parts of corpses. The doctor's sublimation of his sexual urges by his powerful urge for domination is shown when he utilizes the surgical wounds of his female creation to satisfy his lust. He is dissatisfied with the inadequate reproductive urges of his current male creation, and seeks a head donor with a greater libido; he also repeatedly exhibits an intense interest that the creature's "nasum" (nose) have a correctly Serbian shape. As it happens, a suitably randy farmhand leaving a local brothel along with his sexually repressed friend, brought there in an unsuccessful attempt to dissuade him from entering a monastery, are spotted and waylaid by the doctor and his henchman; mistakenly assuming that the prospective monk is also suitable for stud duty, they take his head for use on the male creature. Not knowing these behind-the-scene details, the farmhand

 survives and finds his way to the castle, where he is befriended by the doctor's wife; they form an agreement for him to gratify her unsatisfied carnal appetites. Under the control of the doctor, the male and female creatures are seated for dinner with the castle's residents, but the male creature shows no signs of recognition of his friend as he serves the Baron and his family. The farmhand realizes at this point that something is awry, but himself pretends not to recognize his friend's face until he can investigate further. After a falling out with the doctor's wife, who is merely concerned with her own needs, he is captured by the doctor while snooping in the laboratory; the doctor muses about using his new acquisition to replace the head of his creature, who is still showing no signs of libido. Nevertheless, the doctor's wife/sister is rewarded for betraying the farmhand by being granted use of the creature for erotic purposes, but is killed during a bout of overly vigorous copulation. Meanwhile the jealous henchman repeats the doctor's sexual exploits with the female creature, resulting in her graphic disembowelment. The doctor returns and, enraged, does away with the henchman; when he attempts to have the male creature eliminate the farmhand, however, the remnants of his friend's personality rebel and the doctor is killed instead in gruesome fashion. The creature, believing he is better off dead, then disembowels himself. The doctor's children then enter the laboratory pair up a pair of scalpels and proceed to turn the wheel of the crane that is holding the farmhand in mid-air. It is not clear if the scalpels are there in order to release him, or take over when father left off.
The gruesomeness of the action was intensified in the original release by the use of 3-D, with several dismbowelments being shot from a perspective such that the internal organs are thrust towards the camera.


ANDY WARHOL'S FRANKENSTEIN (TRAILER)
PAUL MORRISSEY (1974)
BRYANSTON PICTURES
2MIN
ITALY

Cat- Women of the Moon (1953)

Cat-Women of the Moon is a 1953 Science fiction 3-D film directed by Arthur Hilton. It stars Sonny Tufts, Victor Jory and Marie Windsor. The musical score was composed by Elmer Bernstein. This is one of several low budget films from the 1950s-1960s that share the same premise of a typically all-male expedition to a remote and isolated location where the males discover a race of women without men.
An expedition to the Moon encounters a race of "Cat-women", the last eight survivors of a 2-million-year-old civilization deep within a cave where they have managed to maintain the remnants of a breathable atmosphere that once covered the Moon. The remaining air will soon be gone and they must escape if they are to survive. They plan to steal the expedition's space ship and return to Earth. Through the use of their telepathic ability the Cat-women have been subliminally controlling Helen Salinger (Marie Windsor) so she can win the navigator slot on the expedition and lead the crew to their location. Once Helen and the male members of the crew arrive on the moon the Cat-women take complete control of her mind. Unable to control the men's minds they work around this obstacle with Helen's help and the use of their superior abilities and feminine wiles. "Show us their weak points," one says to Helen. "We'll take care of the rest." Along with telepathy, the Cat-women have the ability to transport themselves unseen from place to place within the cave. They use this ability to steal the crew's spacesuits where they were left at the mouth of the cave. Using Helen to smooth things over after an earlier failed attack on the crew the Cat-women approach the men openly. Food and drink are brought out and a party ensues. Kip (Victor Jory) is suspicious after discovering the spacesuits are missing and confronts the Cat-women's leader Alpha (Carol Brewster) who promises to return the suits in the morning. Kip sits alone, unable to intervene while the Cat-women exploit the "weak points" of expedition commander Laird (Sonny Tufts) and the other men. Soon the Cat-women have learned how to operate the space ship and are well on their way to success. But Lambda (Susan Morrow) falls in love with crew member Doug (William Phipps) and tells him of the plot. Carrying three spacesuits, Alpha, Beta and Helen make a break for the ship. Lambda teleports ahead to delay them and is killed by Beta (Suzanne Alexander). Kip catches up and fires several shots; Alpha and Beta are killed; Helen is uninjured. The expedition escapes and begins their return to earth.


CAT-WOMEN OF THE MOON
ARTHUR HILTON  (1953)
62 MIN
USA

The Man Who Changed His Mind (1936)

The Man Who Changed His Mind is a 1936 science fiction horror film starring Boris Karloff and Anna Lee. It was directed by Robert Stevenson and was released in Great Britain by Gainsborough Pictures. The film was also known as The Brainsnatcher or The Man Who Lived Again.

Dr. Laurience (Karloff), a once-respectable scientist, begins to research the origins of the mind and soul in an isolated manor house, aided only by the promising surgeon Clare Wyatt (Lee) and a wheelchair-using confederate named Clayton (Donald Calthrop). The scientific community rejects his theories and Laurience risks losing everything for which he has worked so obsessively. To save his research, Laurience (pronounced "Lorenz") begins to use his discoveries in brain transference for his own nefarious purposes, replacing the mind of philanthropist Lord Haslewood (Frank Cellier) with the personality of the crippled, caustic Clayton. With Lord Haslewood's wealth and prestige at his command, Laurience becomes an almost unstoppable mad scientist.Despite a powerful patron and a state-of-the-art laboratory, chain-smoking Laurience remains the typical absent-minded professor, with eraser dust on the back of his wrinkled jacket, and in constant, desperate need of a strong hairbrush. However, he is not immune to the feminine charms of the lovely Dr. Wyatt. He attempts to take control of the body of Lord Haslewood's handsome son Dick (John Loder) in an effort to seduce Clare, but finds it impossible to disguise his own strange physicality even in the body of another man. Nor can he go without a cigarette in front of Clare although he is aware that young Dick Haslewood never smoked. Unfortunately, before transferring his mind with that of Dick, Laurience strangled Clayton, who was inhabiting the body of Lord Haslewood, so that Dick, afterwards a prisoner in Laurience's own body, would be hanged for the murder of the man presumed to be his father. Realizing the truth, Clare and her friend Dr. Gratton (Cecil Parker) return Laurience's mind to its proper body, but that body has been badly broken in a panicked fall out of a high window, taken while Dick Haslewood was in unwilling possession. Admitting he has wasted an incredible invention on a selfish and murderous scheme, the shattered Laurience tells Clare he should never have meddled with the human soul. He takes his knowledge to the grave, having changed his mind for the last time.

THE MAN WHO CHANGED HIS MIND
ROBERT STEVENSON  (1936)
GAINSBOROUGH PICTURES
62:23
UK
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Racket Squad: His Brother's Keeper (1953)

Racket Squad is an American TV crime drama series starring Reed Hadley as Captain John Braddock, a fictional detective working for the San Francisco, California Police Department. The show aired in syndication for a season (1950) before being picked up by CBS for three seasons (1951-1953). The series was filmed at Hal Roach Studios in Culver City, California and was sponsored by cigarette manufacturer Philip Morris, hence there was a pack of the sponsor's brand on Braddock's desk at the beginning and end of the episode, as well as occasional scenes of him or other characters "lighting up". The show dramatized the methods and machinations of con men and bunko artists. At episode's end, Captain Braddock gave viewers advice on how to avoid becoming the victim of the confidence game illustrated in the episode. Plots were based on actual case files from United States police departments, business organizations and other agencies

This episode:
His Brothers Keeper
An elderly gambler nicknamed Long Shot poses as a deaf panhandler, and the money he collects he uses for gambling. However, a criminal gang is already using that same scam on a citywide basis, and they don't look too kindly on Long Shot cutting into their action.



RACKET SQUAD - HIS BROTHERS KEEPER
HAL ROACH JR   (1953)
CBS TELEVISION
26:17
USA
DOWNLOAD / MPEG4 / 307 MB

Balloon Land (1935)

Balloon Land, also known as The Pincushion Man, is a 1935 animated short film produced by Ub Iwerks as part of the ComiColor Cartoons series. The cartoon is about a place called Balloon Land, whose residents (including popular entertainment icons such as Laurel and Hardy and Charlie Chaplin) are made entirely out of balloons. The villain in the cartoon is the Pincushion Man, a character who walks around Balloon Land popping the inhabitants with pins.

The ComiColor Cartoon series was a series of 29 animated short subjects produced by the Ub Iwerks studio from 1933 to 1936. The series was the last produced by the studio; after losing distributor Metro-Goldwyn-Mayer in 1934, the Iwerks studio's senior company Celebrity Pictures (run by Pat Powers) had to distribute the films itself. The series was shot exclusively in Cinecolor. Most of the ComiColor entries were based upon popular fairy tales and other familiar stories, including Jack and the Beanstalk, Old Mother Hubbard, The Brementown Musicians, and The Headless Horseman. Grim Natwick, Al Eugster, and Shamus Culhane were among the series' lead animators/directors, and a number of the shorts were filmed using Iwerks' multiplane camera, which he built himself from the remains of a Chevrolet automobile. - From Wikipedia



BALLON LAND
UB IWERKS  (1935)
7:35
USA

Case Study : LSD (1969)

In 1938, Swiss chemist Dr. Albert Hofmann accidently ingested lysergic acid dethylamide, thereby discovering the hallucinogenic properties inherent in a fungus that grows on rye. It was known as "St. Anthony's Fire" in the old days, but now it was concentrated into a pure form, and the effects would be far reaching. Initially, it was embraced by everyone from Washington to Hollywood: the CIA experimented with it and even Cary Grant admitted to dropping acid sixty times. However, once it found its place in the 1960's counterculture its mainstream acceptance declined. California was first to criminalize the drug and the rest of the country soon followed. LSD now had a bad reputation.
In 1969, when the educational film "LSD: A Case Study" was made, LSD was the hippie drug of choice, spurred on by the likes of Timothy Leary, Ken Casey, and acid rock concerts. Parents were disturbed, and hospitals were beginning to fill up with hippies thrown into LSD induced psychoses. Ronald Reagan and Ed Meese began to wage war on the drug and the word was sent to schools to warn kids of the dire consequences of LSD use.  The funny thing about this particular educational film is that it actually makes LSD look appealing. If I wasn't tempted to use the drug before, this film changes all that and makes it look rather interesting. It starts with a rather cool and happening party. If I were a kid in the 60's watching this film, I'd want to be at this party. After the party, she goes to get a hot dog. The film repeatedly flashes images of this chick about to wrap her lips around this wiener. No doubt, the phallic connotations would be felt by young schoolboys watching this film. Suddenly, her hot dog turns into a troll-like creature who starts screaming at her. While not exactly the religious experience Timothy Leary claimed LSD would provide, it still sounds pretty cool to have a hot dog turn into an angry troll. In the end, the hippie chick stomps on the hot dog while it screams in pain. Which then begs the question - is losing a perfectly good hot dog the worst thing that can happen to you if you use LSD? This is the worst they could come up with? - from Retrospace

What I find very strange is that this film was produced by the Lockheed Aircraft Corp




CASE STUDY : LSD
LOCKHEED AIRCRAFT CORP
4MIN
USA

Man With a Movie Camera : Dziga Vertov - (1929)

Man with a Movie Camera (Russian: Человек с киноаппаратом, Chelovek s kino-apparatom; Ukrainian: Людина з кіноапаратом, Liudyna z kinoaparatom), sometimes called The Man with the Movie Camera, The Man with a Camera, The Man With the Kinocamera, or Living Russia is an experimental 1929 silent documentary film, with no story and no actors, by Russian director Dziga Vertov, edited by his wife Elizaveta Svilova. Vertov's feature film, produced by the Ukrainian film studio VUFKU, presents urban life in Odessa and other Soviet cities. From dawn to dusk Soviet citizens are shown at work and at play, and interacting with the machinery of modern life. To the extent that it can be said to have "characters," they are the cameramen of the title and the modern Soviet Union he discovers and presents in the film. This film is famous for the range of cinematic techniques Vertov invents, deploys or develops, such as double exposure, fast motion, slow motion, freeze frames, jump cuts, split screens, Dutch angles, extreme close-ups, tracking shots, footage played backwards, stop motion animations and a self-reflexive style (at one point it features a split screen tracking shot; the sides have opposite Dutch angles). The film has an unabashedly avant-garde style, and emphasizes that film can go anywhere. For instance, the film uses such scenes as superimposing a shot of a cameraman setting up his camera atop a second, mountainous camera, superimposing a cameraman inside a beer glass, filming a woman getting out of bed and getting dressed, even filming a woman giving birth, and the baby being taken away to be bathed. Vertov was one of the first to be able to find a mid-ground between a narrative media and a database form of media. He shot all the scenes separately, having no intention of making this film into a regular movie with a storyline. Instead, he took all the random clips and put it in a database, which Svilova later edited. The narrative part of this process was her job. She had to go into that random pool of clips that Vertov filmed, edit it, and put it in some kind of order. Vertov's purpose of all this was to break the mold of a linear film that the world was used to seeing in those days. Vertov's message about the prevalence and unobtrusiveness of filming was not yet true—cameras might have been able to go anywhere, but not without being noticed; they were too large to be hidden easily, and too noisy to remain hidden anyway. To get footage using a hidden camera, Vertov and his brother Mikhail Kaufman (the film's co-author) had to distract the subject with something else even louder than the camera filming them. The film also features a few obvious stagings such as the scene of a woman getting out of bed and getting dressed (cameras at the time were fairly bulky and loud) and the shot of chess pieces being swept to the center of the board (a shot spliced in backwards so the pieces expand outward and stand in position). The film was criticized for both the stagings and the stark experimentation, possibly as a result of its director's frequent assailing of fiction film as a new "opiate of the masses." Dziga Vertov, or Denis Arkadevich Kaufman, was an early pioneer in documentary film-making during the late 1920s. He belonged to a movement of filmmakers known as the kinoks, or kinokis. Vertov, along with other kino artists declared it their mission to abolish all non-documentary styles of film-making. This radical approach to movie making led to a slight dismantling of film industry: the very field in which they were working. This being said, most of Vertov's films were highly controversial, and the kinoc movement was despised by many filmmakers of the time. Vertov's crowning achievement, Man with a Movie Camera was his response to critics who rejected his previous film, One-Sixth Part of the World. Critics declared that Vertov's overuse of "intertitles" was inconsistent with the film-making style the 'kinos' subscribed to. Working within that context, Vertov dealt with much fear in anticipation of the film's release. He requested a warning to be printed in Soviet central Communist newspaper, Pravda, which spoke directly of the film's experimental, controversial nature. Vertov was worried that the film would be either destroyed or ignored by the public eye. Upon the official release of Man with a Movie Camera,

Vertov issued a statement at the beginning of the film, which read:
"The film Man with a Movie Camera represents

AN EXPERIMENTATION IN THE CINEMATIC TRANSMISSION

Of visual phenomena

WITHOUT THE USE OF INTERTITLES

(a film without intertitles)

WITHOUT THE HELP OF A SCRIPT

(a film without script)

WITHOUT THE HELP OF A THEATRE

(a film without actors, without sets, etc.)

This new experimentation work by Kino-Eye is directed towards the creation of an authentically international absolute language of cinema – ABSOLUTE KINOGRAPHY – on the basis of its complete separation from the language of theatre and literature." This manifesto echoes an earlier one that Vertov wrote in 1922, in which he disavowed popular films he felt were indebted to literature and theater.

MAN WITH A MOVIE CAMERA
DZIGA VERTOV (1929)
68 MIN
USSR